There are many references to embroidery in literature and also to those
who produced it. In the 10th C, there is reference to St. Dunstan working
on designs for Queen Aedgytha, wife of Edward the Confessor. There is
also Queen Margaret of Scotland, wife of Malcolm III, who decorated copes,
chasubles, stoles and altar cloths.

Gifts of textiles to the Church formed an important part of late Anglo-Saxon
society. Vestments, made up of many marks worth of gold, were given to
various religious communities during this period. These vestments often
the most valuable items in the treasuries of the communities.

Because of the intrinsic worth of these items (a cope and two chasubles
burnt in the 14th century recoverd over two hundred and fifty pounds worth
of gold), many were destroyed to recover the gold. This explains why so
few of these items survive, despite their acknowledged beauty.

Design

Anglo-Saxon designs in embroidery reflected design in other mediums such
as carving and illumination. There was extensive use of interlaced patterns,
figural and animal designs as well as architecturally inspired structure
within the needlework design. As would be expected, ecclesiastical embroideries
drew heavily from Biblical and religious themes for depictions on vestements
and other church decorations.